I particularly enjoyed the second to last piece, «Agua e vinho» by Egberto Gismonti, arranged by Sérgio Assad, though I thought it should have been called, if anything, «Honey and Wine», as this mellifluous piece displayed the vast range of scales a couple of guitars can achieve simultaneously.
«Vanilla Rose», a very fragrant composition in three parts by Yvonne Bloor, closed the presentation. The quiet, pensive, second part was, I thought, a rather elegant contrast to the very first part, a cleverly-crafted allegro.
The highlight of the day were, perhaps, a couple of pieces by Enrique Granados, the «Spanish Dance n.º 2, Oriental», and «n.º 5 Andaluza», particularly as the first of these pieces showcased the guitar harmonics via a technique where, by pressing softly on the fret the resulting note sounds in a way higher tone than one would expect; this, in turn, revealed just how good Christ Church’s sound system is at capturing and reproducing everything at the mid and high range of the sound spectrum. In yet another turn, this made apparent the lack of a subwoofer, as what might have been gut-piercing notes were heard, yes, but not felt. These audio quirks are pretty much you-really-had-to-be-looking-for-it-to-notice, as I've been writing about these concerts for nearly twenty months and just came to this realisation today.